PS 3521 
.A86 D3 
1918 
Copy 1 



Price 25 Cents 



The Daughters 
of Men 




PUBLISHED BY 

The, Dramatic Publishing Compant 

CHARLES H 5ERGEL . PRESIDENT 



Practical Instructions for 
Private Theatricals 

Bv W. D, EMERSON 

Author @t €8 A Country Romance," "The Unknown Rival," 

"Humble Pie," etc. 



Price, 25 cents 



Here !s a practical hand-book, describing in detail all the 
Accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such useful 
book has ever been offered to the amateur players of any 
eountry. 

CONTENTS 

Chapter I. Introductory Remarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooms 
©r parlors, wiih sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, wings, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Eeflectors. How to darken the 
stage, etc. 

Chapter VI. Stage Effects. Wind, Rain, Thunder, Break* 
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, 
Shots. 

Chapter VII. Scene Painting. 

Chapter VIII. A Word to the Property Man. 

Chapter IX. To the Stage Manager. 

Chapter X. The Business Manager. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



THE DAUGHTERS 

OF MEN 



DRAMA IN ONE ACT 



BY 

KATHARINE KAVANAUGH 

M 
AUTHOR OF 

"CORINNE OF THE CIRCUS," ETC. 



COPYRIGHT 1918 

BY 
THE DRAMATIC 
PUBLISHING COMPANY 



CHICAGO 
THE DRAMATIC PUBLISHING COMPANY 



P5 352A 



CAST 

John Mitchell, the District Attorney, a man of about 
thirty years, well built, determined and earnest in 
manner. 

Mrs. Mitchell, his mother, a sweet looking woman of 
fifty-five or sixty, with grey hair. Dressed quietly 
in black silk. 

James, a butler. 

Dan McQuade, a man of forty-five or fifty years. A 
successful politician, one of the "bosses." Wears 
good clothes and a silk hat. 

Helen McQuade, his daughter, a girl of eighteen, pretty 
and well dressed. 

Plays twenty minutes. 



MAfhl 1318 



2 



THE DAUGHTERS OF MEN! 

Scene. The library in the home, of the District 
Attorney. Time : Midnight. A handsomely furnished 
room, with entrances C. and L. U. A large library table 
C. with lawbooks, writing materials, etc. A chair in back 
of table. A lighted dome or electric lamp over table. A 
fireplace L. with large easy chair before it. Bookcases 
upstage on either side of center entrance. Other furni- 
ture to dress stage. Curtain up, James seated in chair 
before fireplace, dozing. There is no light on stage except 
from dome over table and fireplace. Enter Mrs. 
Mitchell, C. D., looks around room, sees James. 

Mrs. Mitchell. James ! 

James. [Jumping up, rubbing his eyes.~\ Yes, Ma'am. 
I begs your pardon, Ma'am. 

Mrs. Mitchell. Has my son returned ? 

James. No, ^a'am. 

Mrs. Mitchell. What time is it? 

James. It's after midnight, Ma'am. He said he'd be 
late. 

Mrs. Mitchell. I know, but I can't help worrying. 
To think of him going down in that part of the town, 
mixing with all that riff-raff, some of them hating him, 
only waiting for the chance to harm him. 

James. Beggin' your pardon, Ma'am, but don't you 
worry about the master. He's more than a match for 
any of them hoodlums. 

Mrs. Mitchell. But they don't fight openly, James, 
like men. They creep up behind their foe, and kill him 
before he has a chance to defend himself. 

James. No doubt the master has taken a cop or two 
along. 



4 THE DAUGHTERS OF MEN 

Mrs. Mitchell. No, he has gone alone and secretly. 
It was the only way, he said, to get the evidence he wanted. 
Formerly, when he let it be known that he was going to 
these gambling dens to get sufficient evidence to close 
them, the police warned the keepers, and when my son 
reached there, there was no one there but the regular 
patrons, men and women old enough to take care of 
themselves. 

James. And those were not the ones he was after? 

Mrs. Mitchell. No, it is the youth of the city my boy 
is trying to protect, and every one of these gambling places 
is open to them. 

James. 'Tis a big job he's laid out for himself, Ma'am. 

Mrs. Mitchell. It is, indeed, but he'll win, James. 
He has right on his side, and he'll win. [Door slams off 
stage L.] 

James. That's the master now. [Goes up stage and 
throzvs open door L. U .] 

Mrs. Mitchell. [Remains R.] Thank God ! 

[Enter John Mitchell, L. U., with Helen. She is 
shrinking back, he is holding her hand. His manner to her 
is gentle and reassuring. James exits C. with Mitchell's 
coat and hat.~\ 

John Mitchell. Mother — 

Mrs. Mitchell. [Crossing to John, puts her arms 
around him.] John, my boy, I've been so worried. 

Mitchell. There — there — nothing has happened 
[Kisses her and then turns to Helen.] I want you to take 
this young lady under your wing and make her feel at 
home. She is a little upset and nervous. I'll wager you've 
got a cup of hot tea somewhere. 

Mrs. Mitchell. [Putting her arm around Helen.] 
Yes, indeed. She shall have a cup immediately. What 
is your name, dear? 

Helen. [Puts her hands to her face and cries.] I 
can't tell you — Oh, I can't tell you. 

Mrs. Mitchell. [Draws Helen's head to her 
shoulder, and pets her.] There — there — no one is going 



THE DAUGHTERS OF MEN 5 

to annoy you, child. You shan't tell anything if you don't 
want to. 

Mitchell. Mother, you haven't understood why I am 
making this fight — You haven't always approved of my 
going out in the night like this and risking my life among 
my enemies— look at this girl — I found her in one of the 
worst gambling dens in the city — surrounded by men and 
women of the lowest type. It was her first visit there, but 
it wouldn't have been her last. She would have kept 
going until she herself had fallen to their depth. 

Helen. [Turns appealingly to John.] Oh, please let 
me go home. My father will be wild with anxiety. 

Mrs. Mitchell. You have a father ? A mother, too ? 

Helen. My mother died when I was a baby. I don't 
remember her. My father has been everything to me. 

Mitchell. What will he say when he knows where 
you have been tonight ? 

Helen. Oh, he must never know. You must let me 
go home before he finds out. You must! Why — my 
father just worships me — I am all he has in the world — 
it would break his heart to know that I had been in that 
place tonight. 

Mitchell. Suppose I had let you go to the station 
house with the others? 

Helen. [Buries her face in her hands and shudders.'} 
Oh, no — no — 

Mitchell. You are just beginning this life. What 
started you? 

Helen. I don't know. I've got the gambling instinct, 
I suppose. It seems to me I've always wanted to play — 
play — play ! Father used to take me to the races and let 
me bet on the horses — but that didn't satisfy me. I don't 
do it for the money — I have everything I need' — but it's 
in me, and I can't help it ! 

Mrs. Mitchell. The gambling instinct — an inherit- 
ance! 

Mitchell. Tonight was the first time you had visited 
one of these places ? 



6 THE DAUGHTERS OF MEN 

Helen. Yes. 

Mitchell. What is your name ? 

Helen. I can't tell you. 

Mitchell. My dear young lady, you will have to tell 
me some time. I am making a fight against these gam- 
bling halls in the interest of just such as you — young girls 
and boys who are starting on the downward path. That 
is why I brought you home with me. You are the best 
argument I can bring before the Grand Jury. You will 
represent to them what I am fighting for more clearly 
than any words of mine could. 

Helen. [Frightened.] You are going to hold me as 
a witness ? 

Mitchell. Yes — the one witness I wanted out of that 
bunch tonight*. [Door bell rings. James enters C. and 
goes to L. U. John stops him.] Wait, James. Mother, 
take this young lady to your room. I have an idea who 
my caller is. [Mrs. Mitchell leads Helen off through 
C. D., her arm around the girl, Helen is crying softly, her 
handkerchief to her face. The door bell rings again.] 
Let him in, James. [James exits L. U. Mitchell goes to 
table and lights a cigar, sits. James enters L. U., stands 
inside door, allowing MacQuade to enter. James closes 
door, and exits C] 

Mitchell. Rather late for a call, isn't it, MacQuade ? 

MacQuade. Never mind that. I've got something to 
say to you, and it can't wait ! 

Mitchell. Indeed? Let's have it. 

MacQuade. Look here, Mitchell, I put you where you 
are, didn't I? 

Mitchell. If you mean your party put me up for 
District Attorney — yes. 

MacQuade. My party gave you the job — and my 
party means ME. I put you where you are — and don't 
you forget it! 

Mitchell. I'm not likely to — with such a reminder as 
you around. 



THE DAUGHTERS OF MEN 7 

MacQuade. Then don't you go buttin' into things that 
don't concern you. 

Mitchell. What — for instance? 

MacQuade. You raided Logan's gambling place to- 
night ! 

Mitchell. I did ! And I consider that concerned me 
very much. You know the fight I am making against 
those places. 

MacQuade. [Impatiently.'] Aw — I thought that was 
only a newspaper splurge. That's what all you youngsters 
do when somebody puts you into a place that's too big for 
you. You lose your head — try to get into the papers — ■' 
make a big bluff at reforming things. T'hell with reform- 
ing things. You leave things as they are. 

Mitchell. Things as they are don't suit me. The 
gambling dens and other places of this town are open to 
any young boy or girl who wants to get into them. I'm 
not fighting in the interest of the old stagers, the men 
and women who are old enough to know what they are 
doing when they choose the path to perdition, but I AM 
fighting for the youth of this city, and I am going to keep 
on fighting until every den is closed. 

MacQuade. Is that so? Well, you've bit off a little 
more than you can chew, Mitchell. You've got about as 
much chance of closing those places as a snowball has in 
Hades. Do you know who owns Logan's place ? 

Mitchell. No — who owns it ? 

MacQuade. I do! 

Mitchell. You? 

MacQuade. Yes, and not only Logan's, but Romano's 
and Jake's. They're all mine. I'm backing every one 
of 'em. Now what have you got to say ? 

Mitchell. Just what I said before. The fight 
goes on ! 

MacQuade. It does, eh? Well, we'll see about that. 
You want to run for office again, don't you ? 

Mitchell. I am going to run. 



8 . THE DAUGHTERS OF MEN 

MacQuade. You know what chance you got of being 
elected without me in back of you, don't you? You 
remember what you was when I discovered you, don't 
you? A little shyster lawyer, an ambulance chaser, with 
no practice but what you could pick up at the police sta- 
tion. And look where I've put you. 

Mitchell. Why did you do it ? 

MacQuade. Because I thought you'd be only too will- 
ing to do what I told you. And here — the first crack out 
of the box — you start in reforming things. Reforming! 
You're out after newspaper notoriety, that's all. 

Mitchell. No, it isn't all, MacQuade. It's true I 
was a young lawyer with little or no practice when you 
found me. I don't see that that enters into the case at 
all. No matter what I was, I am now the District 
Attorney, and I intend to act as such. 

MacQuade. You'll act as I tell you, Mitchell. 

Mitchell. You're mistaken in your man, MacQuade. 
I made no promises to you when I was nominated, but I 
did make certain promises to the people who elected me, 
and I intend to keep those promises. 

MacQuade. The people who elected you ! You make 
me sick! You'll stand a swell chance of being elected 
if you depend on "the people." Now, let me tell you as 
a friend, Mitchell, if you keep up this reforming thing, 
it'll kill you politically. By the time the next primaries 
come around you'll be as dead as a doornail. 

Mitchell. All right, then ; I'll die fighting. 

MacQuade. You intend to go on ? 

Mitchell. To the very end — until every joint in this 
town that admits young people behind its doors is closed. 

MacQuade. You make me smile. Why, you'll get 
just about as much result as a child would beating its 
little fists against a stone wall. I warn you, Mitchell, 
I'm going to balk you at every move. You thought you 
did a big thing tonight, didn't you? Making a grand- 
stand play and sending a lot of witnesses to the station 
house. Do you know where them witnesses are now? 



THE DAUGHTERS OF MEN 9 

Released, every last one of 'em, on my say-so. There 
ain't a one left to tell the tale. Huh ! You're a fool ! 

Mitchell. Not such a fool as I look, MacQuade. I 
didn't want any of those men and women as witnesses. 
If I had wanted them I should have taken greater pains 
to hold them. I have my witness here — the only one in 
the place tonight that I wanted. I raided Logan's place 
tonight because I was told over the 'phone that there was 
a young girl there — a girl not yet out of her 'teens. That 
girl is here now — in the other room. I am going to show 
her to the Grand Jury. I don't think I'll have to make 
any other argument. 

Mac-Quade. Aw, I guess she's some tough kid of the 
neighborhood. 

Mitchell. No, she- is not. She is evidently a girl of 
refinement. I want you to see her for yourself. [Rings 
bell on table. James enters at C. D.] Ask the young 
lady to come here. 

James. Yes, sir. [Exit C. D. MacQuade is dozvn 
L., while waiting for Helen's entrance, he stands facing 
the fireplace, his hands clasped behind his back. Mitchell 
remains at table. After a second, Helen appears at C, 
looks first at Mitchell, then at MacQuade, and quickly 
stifles a scream. At the sound, MacQuade turns and 
looks at her in amazement.] 

Helen. Daddy ! [Mitchell shozvs surprise.] ' 

MacQuade. Helen ! What are you doing here ? 

Helen. [Runs to MacQuade, cries on his shoulder.] 
Oh, Daddy, take me home — please take me home. 

MacQuade. [With his arm around Helen, speaks in 
a tense voice.] Where did you get my daughter, Mitchell ? 

Mitchell. Out of your gambling den, .MacQuade. 

MacQuade. You knew it was my daughter ? 

Mitchell. I never suspected it for a moment. 

MacQuade. If you had known would you have raided 
that place tonight ? 

Mitchell. Your daughter is of no more importance 



10 THE DAUGHTERS OF MEN 

than the daughters of other men, MacQuade. I am glad 
it has been brought home to you. 

MacQuade. What's your next move ? 

Mitchell. I am going to make a proposition to you. 
With you against me I realize I am going to have an up- 
hill fight closing these places. 

MacQuade. With me against you, you can't do it. 

Mitchell. Then I want you to give me your word 
that within a week you will close the doors of every gamb- 
ling place in which you have an interest. 

MacQuade. And if I refuse? 

Mitchell. The story of tonight's raid, with the names 
of the proprietor and principal witnesses, goes to the 
Tribune in time for the morning issue. 

MacQuade. You would drag my daughter into this? 

Mitchell. Your daughter ! What consideration have 
you had for other people's daughters? The whole story 
goes to the Tribune tonight unless you come to my terms. 
No doubt they've got a picture of her, and I'm sure they 
have one of you. 

MacQuade. You wouldn't dare ! 

Mitchell. Watch me. [Takes telephone off desk, 
calls a number.'] This the Tribune? What time do you 
go to press? This is Mitchell, District Attorney. Hold 
off awhile — I may have a story for you. [Still holds 
receiver as he speaks to MacQuade.] What is it, Mac- 
Quade ? 

Helen. Father — don't — oh, don't let them do that. 
I'll never be able to look anyone in the face again. Please 
don't let them do it — I'll kill myself if you do. [Cries 
hysterically on MacQuade's shoulder.] 

MacQuade- [Stroking Helen's hair, has manner of 
a man beaten.] You win, Mitchell. 

Mitchell. [Into 'phone.] The story is off, Burke. 
Goodnight. 

[MacQuade has taken Helen to L. U. E., his arm still 
around her.] 



THE DAUGHTERS OF MEN H 

MacQuade. You win through her. She's all I've got 
in the world, and I'd sacrifice my life for her. 

Mitchell. You're a man, MacQuade. 

MacQuade. And I guess you're the District Attorney, 
Mitchell. 

CURTAIN. 



BLUNDERING BILLY 

A FARCICAL COMEDY IN THREE ACTS 

By 

ANTHONY E. WILLS 

Author of "Burley's Ranch," "Her Gloves/ 9 etc. 



PRICE, 25 CENTS 



The reception room of "The Strathmore, " a family- 
hotel on the shores of San Francisco Bay, near Alameda, 
California, is the scene where the action of all three acts 
of this play takes place. Act I, Morning ; Act II, After- 
noon ; Act III, Evening. Two hours are required for the 
presentation. The five male and three female characters 
are as follows: 

Ezra Tuttle, a rich mine owner. 

Billy Butler, always in trouble. 

Lieut. Griswold, from the Presidio Reservation. 

Sing Toy, a servant. 

Hank Dibble, an Old Salt. 

Dorothy Tuttle, Ezra's daughter. 

Clarissa Burnham, a guest at "The Strathmore. ' ' 

Woyo San, a Japanese girl. 

A popular comedy because it is lively and funny and 
full of action. "Blundering Billy" has been tried and 
found always a "winner." 

Address orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



THE 

HEART OF A SHAMROCK 

A PLAY IN THREE ACTS 

By 
GEORGE M. ROSENER 



PRICE, 25 CENTS 



Acts I, II and III all have the same scene, the Sitting 
Room in Father 'Neil 's home, and the action occurs in 
the evening at about 7 o'clock, at about 11 o'clock, and 
again one hour later. The time is the present at Wild 
Cat, Colorado. The Cast of Characters includes Father 
O'Neil, the pastor; Bob, the sheriff; his brother, "The 
Shamrock"; Laddie, the youngest brother; Grizzly 
Adams, a cattleman ; May, an Irish rose ; Mrs. Donovan, 
the housekeeper; Joan, a ranchman's daughter, and 
Gad, a city waif. This part may be played either as a 
boy or a girl. 

This play was published two years ago and has met 
with great success wherever produced, by both profes- 
sionals and amateurs. It is easily put on and "acts 
itself." A fine money-making entertainment. 

Address orders to 

THE DRAMATIC PUBLISHING COMPANY 
CHICAGO, ILLINOIS 



THE DUST OF THE EARTH 

A DRAMA IN FOUR ACTS 

By 

KATHERINE KAVANAUGH 

Author of "The Professor of Love/' "The Girl and the 
Outlaw/' "Corinne of the Circus/' etc. 



PRICE, 25 CENTS 



This Rural Drama plays two hours and there are six 
male and four female characters. There are one exterior 
and two interior scenes, all simple. Each character fur- 
nishes a good part; interesting plot wound into every 
line of the play; two charming love stories; the heroine 
and her story win the audience from the moment the 
curtain rises. Full of mystery, romance, pathos and fun. 



CAST OF CHARACTERS 

David Moore, of Maple Farm Cottage. 

Susan Moore, his wife. 

Elizabeth, their daughter. 

Jerry, their son. 

Rev. Dr. Templeton, a young divine. 

Miss Arabella, the village newspaper. 

John Ryder, the young master of The Maples. 

Wandering Tom, a mystery. 

Old Morse, his companion. 

Nell, "The dust of the earth." 

Address orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



MERCHANT OF VENICE 
UP-TO-DATE 

Farce Comedy in Five Acts 

By 

WILLIAM SHAKESPEARE 

Slightly revised and modernized by C. S. Miner, 
J. H. Emery, R. A. Moore and H. J. Spencer 



PRICE, POSTPAID, 25 CENTS 



Excruciatingly funny burlesque of Shakespeare's play, 
particularly adapted to the requirements of high schools 
and colleges. Characters, nine male, seven female. Plays 
about two hours. One interior and three exterior scenes. 
A very popular piece. The dialogue is bright and full 
of real wit. 



DRAMATIS PERSONAE 

The Duke of Venice. The Professor, an ex-ray 
Antonio, a Senior — Cap- photographer. 

tain of High School Policeman. 

Football Team. Portia, a rich heiress. 

Bassanio, his friend and Nerissa, her friend. 

suitor to Portia. Jessica, Shylock's ward. 

GtRAtiano, another friend. Miss Abbie S. Threedice, 
Shylock, a wealthy gam- a teacher. 

bier. Polly, Portia's maid, An- 
Tubal, his friend, and tonio's mother. 

Captain of the Belmont Mrs. Gobbo, Launcelot's 

Football Team. mother. 

Launcelot Gobbo, a ser- Football Players. 

vant to Shylock. 

Address orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



HICKS AT COLLEGE 

A Comedy in Three Acts 

By 

SARA PRESTON, AMY OLIVER AND RALPH E. DYAR 



PRICE, 25 CENTS 



Characters, twelve male, nine female. Plays about two 
hours. Costumes modern. Three easy interior scenes. 
A jolly, lively piece — full of comedy and action — well 
adapted to the needs of schools and colleges and ama- 
teurs everywhere. 



CAST OF CHARACTERS 

Hiram Hicks The Braino Man 

Tom Horton Who writes advertisements 

Fritz Jordan Horton 's chum who plays basket ball 

Adam Biddicut Professor in Northern University 

Dean Smiley. Dean of the College of Arts in Northern University 

Percy Bobbins A recent arrival from "Deah Boston" 

Adolph Hopkins A lazy boy 

Bastian Briggs A dig 

Josh Anderson A basket ball enthusiast 

Charlie Padlet Eeporter for the " Daily Shriek" 

Peter The popular proprietor of ' ' The Pal' ' 

Walker .Manager for the Braino Man 

June Grant ) Seniors, chums, and interested respectively in 
Polly Porter ) Horton and Jordan 

Claire Angeline Jc&stes A stage struck girl 

Susy Spriggins A freshman with a crush 

Daisy Armstrong An athletic girl 

Fluff Finley A f usser girl 

Flora Belle Delamartyr Waitress at ' ( The Pal ' ' 

Mrs. Cobb Housekeeper at ' ' The Quarters ' ' 

Lily Maid at ( ' The Quarters ' ' 

ACT I. Scene — The Palace of Sweets, familiarly known as ' l The 
Pal," the meeting place of town and college. Time — Morn- 
ing, three days before the championship game. 

ACT II. Scene — The campus of Northern University. Time — 
Morning, the day of the game. 

ACT III. Scene — ' ' The Quarters, ' ' home of the six boys. Time 
— Evening, the jubilee after the game. 

Address orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



Hageman's Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

The importance of an effective make-up is becoming more appar- 
ent to the professional actor every year, but hitherto there has beea 
no book on the subject describing the modern methods and at the 
same time covering all branches of the art. This want has now 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered bj' this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likely to be superseded by 
any other. It is absolutely indispensable to every ambitious actor. 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The Make-up Box. Grease-Paints, Mirrors, Face 
Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before Making up; the Straight Make- 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
fects. Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers, Southerners, 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons, Negroes, Soldiers during War,' Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, 
Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
Portuguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abys- 
sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary* 
Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



LIBRARY OF CONGRESS 



PLA\ 




And Entertainment Books. 

JIJEING the largest theatrical booksellers in 
W" the United States, we keep in stock the most 
complete and best assorted lines of plays and en- 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
plays and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter- 
ested in dramatic books should examine our cat- 
alogue before ordering elsewhere. 

We also carry a full line of grease paints, 
face powders, hair goods, and other ' 'make-up' s 
materials. 

The Dramatic Publishing Company 
CHICAGO 



